Review: Strike Up The Band! ‘Music Man’ a summer treat

“The Music Man” is one of the most endearing romantic musicals ever written. It doesn’t need a silver-tongued traveling salesman or a tongue-wagging reviewer to sell it, because 40 actors and eight band members are doing just fine all by themselves at the Oak Ridge Playhouse.

“The Music Man” is one of the most endearing romantic musicals ever written. It doesn’t need a silver-tongued traveling salesman or a tongue-wagging reviewer to sell it, because 40 actors and eight band members are doing just fine all by themselves at the Oak Ridge Playhouse. … But a reviewer can cheerlead and this one found a lot to cheer about.

Meredith Wilson’s music and lyrics, along with story assistance from Franklin Lacey, deserved their five Tony awards back in 1957 and “The Theater Man” (Playhouse director Reggie Law) deserves the standing ovation rewards he and his troops are receiving in “real time.”

We call this play a classic piece of Americana with colorful period details adding exclamation points to provincial small town, narrow mindedness. We call this play a buoyant pulsating show where music, theater, dance and rhythm converge in show-stopping songs and patter. Who can ever forget the opening number “Rock Island,” featuring a train filled with one Charlie Cowell (Tony Cedeno) and a group of traveling salesmen who pontificate about their successes? Their rhythmic heebie-jeebies caused by the bumpy ride, combined with their rhythmic speech, is amazingly amusing.

We half expected the audience to leave their seats and start spontaneous jiving, you know like you see on YouTube. What fun! Take a bow Cedeno, Steve Belding, Taylor Gober, Michael Higdon, Adam Moreno, Jim Nelson and Steve Rothschild.

Who can forget Steve Fitchpatrick as Prof. Harold Hill, the self-appointed Music Man? Fitchpatrick commands the stage with the gift of invigoration. This actor is alive and he vivifies every word of the fast patter and toe-tapping songs.

The counterpoint between him and the townspeople, especially in the First Act, is just as exciting as the counterpoint in a busy music score. Fitchpatrick is among the precious few actors who might even challenge actor Robert Preston’s top-banana performance.

Harold Hill charms his way into the lives of River City, Iowa, and convinces these “stubborn” townfolk to buy instruments and uniforms for a non-existent boys’ band. But what do you think is going to happen when the slippery city slicker falls in love with the school librarian?

We can tell you that his sell-and-run plot becomes deliciously complicated.

First of all, Virginia Nelson Vowell has a lovely soprano voice, all the better to sing the show’s most beautiful songs such as “Goodnight My Someone” and “Till There Was You.”

She is also a dancer, all the better for the graceful and high steps required of her.

But Vowell is especially effective because she is SO real. We do not think of her as playing a role, she IS Marian the librarian, and the piano teacher too. Her costumes and hairstyles are the final touch — beautifully suited to her. For that we thank Virginia Baldwin, Sandra Herrera and Kaethe Rutkowski. They did much for the show’s creative aesthetics.

Page 2 of 2 - It was extraordinarily special to see Dancer/Actor Bruce Alan Ewing back on stage, first in the good number (“The Sadder But Wiser Girl”) with Fitchpatrick and, again, in the delightfully choreographed number “Shipoopi,” where he and dance partner Emilee Jane Richardson cut loose.

As the boorish town mayor, Jeff Bell roared mightily, while Mary Beth Bonney as the librarian’s sweet mother calmed, soothed and plotted. Bonney was convincing in her songs and her “oh, mother!” role, especially with her motivation-challenged son, Winthrop (very well played by Declan Robert Brewer). And Cassidy Wills was super as a young piano student who got to sing a duet with her piano teacher.

Big scenes that included the whole cast were loaded with visual and musical treats. Featured in some of the most entertaining songs was one group of women who stood out vocally and comically. Led by Sheila Michel, they must be praised, so take a bow Elizabeth Eaker, Kristyn Marie, Richardson again, and Julie Stelter. A first-rate barbershop quartet was another outstanding unit, and the way the quartet evolved in the plot was delicious. Receiving an especially warm stage call were Jim Bonomo, Ted Jett, Chuck O’Donnell and John Oxendine.

A stage full of child and young adult actors took multiple roles and contributed significantly to the success of the show. Many of them were making their Playhouse debuts and boasted impressive credentials. How we wish there was room to name them all, but rest assured if Reggie Law chose them they were up for the job!

Good news for romantics — the chemistry between Marian and Harold is believable. We couldn’t help but notice that Virginia Vowell’s husband was strategically placed at a keyboard where he could keep an eye on the stage. Mark Vowell was a member of Barry Wallace’s terrific band.